#i have literally no idea how to render most things actually

[vetyr]

hi, i ireally love your work and i don't know if you've answered this before but, what kinds of studies do you do or how did you learn color theory? i wanna get better at rendering and anatomy but im having trouble TT TT

Hi! Long answer alert. Once a chatterbox, always a chatterbox.

When I started actively learning how to draw about 10 1/2 years ago, I exclusively did graphite studies in sketchbooks. Here's a few examples—I mostly stuck to doing line drawings to drill basic shapes/contours and proportions into my brain. The more rendered sketches helped me practice edge control & basic values, and they were REALLY good for learning the actual 3D structure behind what I was drawing.

I'd use reference images that I grabbed from fitness forums, Instagram, Tumblr, Pinterest, and some NSFW places, but you could find adequate ref material from figure drawing sites like Line of Action. LoA has refs for people (you can filter by clothed/unclothed, age, & gender), animals, expressions, hands/feet, and a few other useful things as well. Love them.

Learning how to render digitally was a similar story; it helped a lot that I had a pretty strong foundation for value/anatomy going in. I basically didn't touch color at all for ~2 years (except for a few attempts at bad digital or acrylic paint studies), which may not have been the best idea. I learned color from a lot of trial and error, honestly, and I'm pretty sure this process involved a lot of imitation—there were a number of digital/traditional painters whose styles I really wanted to emulate (notably their edge control, color choices, value distributions, and shape design), so I kiiind of did a mixture of that + my own experimentation.

For example, I really found Benjamin Björklund's style appealing, especially his softened/lost edges & vibrant pops of saturated color, so here's a study I did from some photograph that I'm *pretty* sure was painted with him in mind.

Learning how to detail was definitely a slow process, and like all the aforementioned things (anatomy/color/edge control/values/etc.) I'm still figuring it out. Focusing on edge control first (that is, deciding on where to place hard/soft edges for emphasizing/de-emphasizing certain areas of the image) is super useful, because you can honestly fool a viewer into thinking there's more detail in a piece than there actually is if you're very economical about where you place your hard edges.

The most important part, to me, is probably just doing this stuff over and over again. You're likely not going to see improvement in a few weeks or even a few months, so don't fret about not getting the exact results you want and just keep studying + making art. I like to think about learning art as a process where you *need* to fail and make crappy art/studies—there's literally no way around it—so you might as well fail right now. See, by making bad art you're actually moving forward—isn't that a fun prospect!!

It's useful to have a folder with art you admire, especially if you can dissect the pieces and understand why you like them so much. You can study those aspects (like, you can redraw or repaint that person's work) and break down whether this is art that you just like to look at, or if it's the kind of art that you want to *make.* There's a LOT of art out there that I love looking at, probably tens of thousands of styles/mediums, but there's a very narrow range that I want to make myself.

I've mentioned it in some ask reply in the past, but I really do think looking at other artist's work is such a cheat code for improving your own skills—the other artist does the work to filter reality/ideas for you, and this sort of allows you to contact the subject matter more directly. I can think of so many examples where an artist I admired exaggerated, like, the way sunlight rested on a face and created that orange fringe around its edge, or the greys/dull blues in a wheat field, or the bright indigo in a cast shadow, or the red along the outside of a person's eye, and it just clicked for me that this was a very available & observable aspect of reality, which had up until that point gone completely unnoticed! If you're really perceptive about the art you look at, it's shocking how much it can teach you about how to see the world (in this particular case I mean this literally, in that the art I looked at fully changed the way I visually processed the world, but of course it has had a strong effect on my worldviews/relationships/beliefs).

Thanks so much for sending in a question (& for reading, if you got this far)! I read every single ask I receive, including the kind words & compliments, which I genuinely always appreciate. Best of luck with learning, my friend :)

[roseykat]

TITLE: How they are when they eat you out

SUMMARY: OT8 blurb version of the title.

MASTERLIST

WARNING: minors DNI with this post or my blog. I create NSFW SKZ related content and I know I won't be able to regulate/monitor every single potential interaction with these posts so please do not engage with my work and page whatsoever.

TAGS: mentions of orgasms, sex positions, again nothing too major.

TAGLIST: @xhakumeix

A/N: here is another spicy blurb/work of mine! Thank you everyone for engaging with my posts, messaging and following! I really appreciate y’all 😭💗 also side note again, I’ll spellcheck this when I get home!

BANG CHAN

Deliberately goes slow. He likes foreplay but also teasing you. Thrives off of feeling your legs shake around his head as he goes down on you. If you can’t handle the overbearing intensity of pleasure, he’ll snake his arms around your thighs, gripping and holding you there to ensure that you will take everything he gives you.

However, Chan is a firm reinforcer of edging and uses his mouth to achieve that. He’ll have you squirming and trembling every single time he brings you to the edge. Whenever you try and inch closer towards his tongue, he’ll pull away, leaving you frustrated and angry. But edging has a high purpose, and that’s to make you cum ten times harder than you usually would.

“I know how much you want to cum right now,” Chan says. “So lie back and let me get you there.”

-

MINHO

Eats pussy for sport and will make you cum as hard and as fast as possible and as many times as you’ll let him. He’ll tease when he wants but for the most part, he wants to watch you writhe and shake. Hearing you scream out his name is a phenomenon that he can never get over. Minho also likes eating you out in positions that will have you screaming and where you’re bound to cum - literally.

He will have your legs bent at your sides, tied up so you can’t move, and will eat you out for an hour or two, otherwise until you’re crying from how much pleasure you’re in. In those positions, there’s nowhere for you to go or move other than the surface of his hot tongue.

“Like cumming on my mouth don’t you?” Minho asks. “I’ll make you cum again, and again, and again - until you start to forget your name.”

-

CHANGBIN

Eats it like he means it. Will make you cum more than once with his mouth and won’t settle for anything less. He will have you in tears from how intense the orgasms are that he gives you. It’s a real contrast to how tender and nurturing he is when it comes to taking care of you afterwards. Nonetheless, Changbin will eat you out like it’s the last thing he’ll do.

He doesn’t stop unless you want him to. Sometimes you give him free rein which, in all honesty, is a terrible idea sometimes because Changbin will cease at nothing to make you cum so hard that you start seeing stars. What’s even better is because of his strength, it’s near to impossible to squirm away from his mouth, rendering you to cum hard regardless.

“Look how pretty you are when you cum,” Changbin sigh’s exasperatedly.

-

HYUNJIN

Is very attentive. Studies every reaction that he brings out of you as soon as his mouth is buried in between your legs. Hyunjin also has the tendency to overstimulate the shit out of you. Half of the time he doesn’t actually mean to. He just gets off on the change in pitch of your moans, how you sometimes go silent when you cum, or when you grip onto his hair as tight as you can.

His method of making you orgasm multiple times ensures that your legs will be shaking and your moans will fill the space around him. The only unfortunate thing for him when it comes to eating you out is that he can’t see your entire body, especially when you cum.

“You’re shaking baby,” Hyunjin points out. “Feels that good, huh?”

-

JISUNG

Is sloppy, but in the best way possible. He’s unfazed about how wet you are, how much of it gets on his face, if it’s on the bed, the floor, the kitchen counter - whatever. That’s applicable to every situation where he’s eating you out, even when Jisung feels lazy. In saying that, there are two sides to him, and he can go either way; he’ll either eat you out like he’s been deprived of it for months, or if he’s feeling lazy but still wants to go down on you, he’ll eat slowly.

If that’s the case, he will ask you to just sit on his face. It’s convenient for him to lie back and eat you out that way. Hell - he’ll even let you use his face to make yourself cum however many times you want. Jisung will say it so casually that it sometimes turns you on more. Despite him feeling lazy, that doesn’t mean to say that he isn’t into it - he is definitely into it.

“I’m horny as fuck,” Jisung says before smiling. “Sit on my face?”

-

FELIX

Going down on you is already a task that’s intimate enough as it is, but Felix’s entire aura seems to enhance that even further, to the point where you feel so good that it’s emotional. Almost every time - guaranteed - Felix will interlock his fingers with yours when his head is buried between your legs. He’ll kiss your inner thighs, softly on your clit, delicately sucking and licking to slowly build you up to a peak.

He analyses what you like so well that every time he goes down on you, he makes sure to follow that routine to achieve the same results if not better. It’s almost like one of his games to him, except the rewards are better in every aspect. Lix just wants to make sure you feel good.

“Can never get enough of you,” Felix says. “Wanna make you cum as much as you’ll let me.”

-

SEUNGMIN

Is a tease. Even during foreplay he’ll edge you with his mouth. He’ll never give you exactly what you want when you want it. If he’s going down on you, and you’re ready to cum, Seungmin will stop right before you start tipping over the edge just so he can fuck you in order to make you cum on his cock instead. Then again, if he feels generous, it’ll be his mouth that makes you cum, especially as a form of reward if you can go a day or two without being an absolute brat.

But that’s the side of Seungmin who likes to be dominant. There’s the other face of the coin where he can be very tender. In those instances when he is going down on you, expect to see a lot more affection from him. He won’t just focus solely on your clit, he’ll go slow, check in on you, and make you cum more than once because he’s also a gentleman.

“I’m the only one who can make you feel this good,” says Seungmin. “Nobody else can make you cum the way I do.”

-

JEONGIN

Knows exactly what he’s doing when it comes to eating you out. Jeongin chooses to go slow whenever he does because of how attentive he is. He wants to make sure that each second his face is buried in between your legs that your body feels good. Every now and then it’s a bit frustrating because all you want to do is just cum as quickly as you can, so as you squirm or grip his hair to try and make him go faster, that’s when he’ll decide to intentionally tease you and go slow.

He likes to hold around your thighs, gently squeezing them to hold you firm around his head. The struggles you have when it comes to putting up with his tongue is next level. He has the technique to make you cum in under a minute minimum. He’s unassuming but he’s just that good at it.

“Can feel your legs shaking,” Jeongin says. “I want to feel them shake even more.”

[wizardpink]

I screencapped these two posts four days ago because I had Something to Say and now I have no idea wth it was.

I think it had something to do with power dynamics and how Armand making Daniel a vampire actually handed Daniel a huge amount of power over Armand despite being the fledgling?

So number one Armand rendered his primary weapon against Daniel / form of self-defense completely useless by making Daniel his fledgling. He can no longer use the mind gift to manipulate Daniel or erase his memories. Which of course is true for all makers and fledglings, but most makers' fledglings aren't Sherlock Holmes with a BSJ. Daniel beat Armand's mental saw trap as a human. Armand is never, never getting one over on him now. Daniel will perceive the slightest change in energy coming from Armand and immediately know that he's lying, and 3 seconds of deduction later and he'll know why. He's an open book now, which must be terrifying.

Number two: mentorship. This is how Lestat kept control over Claudia and Louis for so long: he kept them dependent on him through ignorance. He only told them enough about vampirism to get through the day to day: don't go in the sun, don't drink dead blood, the other vampires of the world are vicious, etc. Every fledging needs their maker at LEAST in the beginning to teach them the ropes. Well, Daniel just wrote the goddamned book on vampirism, literally. Daniel sat there and listened as Louis told him everything he knew, everything Lestat ever taught him, everything Armand ever taught him. What other vampire ever got the in-depth two week course on Vampires 101 before they even got turned?! Crazy stuff.

Number three: vampire loneliness. Supposedly the most cruel and painful thing a vampire can endure. It keeps fledglings and makers tied to each other well past the point of being able to stand each other. And god knows Armand is staring down the barrel of having no one but Daniel. Which is unfortunate for him, considering Daniel is besties with his ex husband and touring with his ex boyfriend. Daniel has friends, friends that didn't torture him for 4 days then try to kill him. Oof.

All of this is to say that, with the info we have right now, Daniel has very little need for Armand. Armand in comparison needs him at least not to be alone, but what leverage does he have to get Daniel to stay with him? He's got nothing babes. I'm not a strong believer in the Armand is running from Daniel theory on season 3, but if he is, it's hard to blame him. He is shooting 0 for 1,000 right now, losing left and right, dying of shame and guilt and embarrassment. I'd probably crawl in a hole and die too.

"Oh but wizardpink, that's not very Devil's Minion of you!" AU CONTRAIRE. Because what could be more compelling and romantic than someone who has no use for you but nevertheless wants you? Thinks about you constantly and doesn't know why? You tried to capture them in a glass jar but they broke out and flew away, only to flutter back because they missed you? Yeah inject that straight into my veins.

And on the flip side? Maybe Armand goes straight back to that headspace he was in in '73, the crazed look in his eyes when he told Daniel he was going to teach him to be fascinating. That's ONE thing Armand still has on Daniel, he could probably overpower him enough to keep him trapped somewhere, if Armand thought Daniel was going to leave him. This, too, is Devil's Minion as fuck. Slowest of burns, as they say.

Hmm. Yeah I guess that was what I was gonna say.

[tomezatos]

so like basically in the REIGEN manga tome tries so desperately to throw herself into the center of this literal Superhuman world she sees and play the role of the eager young protagonist and its so endearing but in the end reigen has to come clean and she can’t keep using the spiritual premise as a crutch. not because she was wrong to have her whimsical interests, but because the fantasy of specialness can often be an escape from the isolation a person feels due to being unable to live up to societal ideals of normalcy, and yet in the end the fantasy can itself end up feeding directly into the isolation by obscuring your view of the other people in your life. you cannot prioritize the idea of being unique or special alone and that is the reason that the power structures in the story (as represented by roshuuto in REIGEN) so frequently fail short; because actually EVERYONE is a Pathetic Freak Weirdo Nerd Loser, from the handsome, popular rich boy, to the pretentious Dark!Reigen foil who takes himself too seriously, to all of the mundane teenage girls who the audience is initially tricked into dismissing as shallow, but also by the same token EVERYONE deserves to be loved and feel supported. 

because actually bonds with other people are the most important thing, and centrally this is also why REIGEN relies so heavily on bonds with others as something to create horror. the evil spirit mimics the voices of the ones you love and lures you in and when you’re at your most lost and scared and in need, that’s when you turn around and the face of the person you trust betrays you. tome only contracts the fatal curse in the first place because she cared about reigen and went back to make amends with him. because that’s the most horrifying, most terrifying thing, the thing that renders you absolutely helpless, isn’t it? it’s letting yourself rely on others and trust them to the point that it leaves you vulnerable, isn’t it? but you have to do it, if you want to achieve true connection then you can’t continue keeping up a veneer of Specialness and posturing as someone you’re not no matter how afraid you are of being seen as your true self. that’s the idea that really connects tome and reigen above all else. you have to be who you really are and you have to trust that you’ll be loved for it. and that’s horrifying! that’s an unimaginable, Forbidden terror! but it’s necessary. 

and also I think it’s so clever how REIGEN conveys this by only bringing in shigeo kageyama, the protagonist and most recognizable character who the reader has so many preconceived notions of, in at the last moment as a terrifying ghost who is impersonating him. I mean also it’s partially because shigeo can easily be made to look scary lol, because let’s be real, he can be pretty goddamn scary /hj BUT MOSTLY it’s to have him in his uniform, in his most recognizable and iconic form that the reader will cling to, and then have it be blown away by the post-canon shigeo, the real shigeo, the shigeo who has grown and changed and is no longer stuck in the role he once was. because to be vulnerable with others you have to grow and change and do away with old pretenses and dynamics that you’ve become dependent on. it can be scary to stop playing roles after you’ve grown use to them for so long, but you don’t need them - your most honest self will be the most loved. and also I love how just like tome could tell that it was the real reigen bcause he immediately ran into a spiderweb and yelled, you can tell that it’s the real shigeo because he’s immediately rude as fuck and he and reigen literally instantly go into their mean pithy little affectionate banter lol ok sorry anyway.

and also because you cannot really be any more or less special than anyone else and you need bonds with others, it’s true both that you have to rely on other people, but also that you owe it to them to be kind. reigen is literally a normal person working in the spirit business, so he has to rely on other people with the necessary abilities, such as dimple the spirit and serizawa the psychic, yes, but he also does his part to take care of the people who matter to him. roshuuto is so focused on appearances and power - as shown by how he goes on and on about connections - but when it comes down to it, he was not willing to save others (leaving hoshido in Reliance), and so nobody bothered trying to save him in turn. he only abandoned, and was abandoned. this is shown most acutely in the end by how roshuuto “has no other option” but to pass his curse on to someone else to save himself, while reigen “has no other option” to take on a curse to save someone else. reigen and serizawa accepting their responsibility as adults to protect the children around them is an extension of the idea that you are equal to everyone and are obligated to be kind to your loved ones and recieve kindness in turn. anyway mutual trust and communication is all that matters and tome kurata is The protagonist of all time Sorry,

[snipsnipsnippy]

Can I just talk about Leia’s lightsaber? For probably a long time..

First, I want to say aesthetically she’s gorgeous. She’s so unique. She’s so sleek. She looks like a Jedi masterpiece.

But goddamn does she suck to use.

So to start from the top, we see this beautiful legacy through Leia’s saber. We have the thin neck and rings calling back to Obi-Wan/Luke’s second saber and the vertical grips calling back to Anakin/Luke/the “Skywalker saber”. And we’re told it’s made of silver and copper with mother of pearl?! which just screams Padmé and Breha to me. I love how certain details of a character’s lineage pass through their sabers. Just beautiful.

And obviously because I love Leia and her lightsaber is beautiful I bought one of these but specifically to use, not to display. And oh boy. The amount of blood I have spilled on this saber is terrible, and no I don’t mean hurting someone else. This is my own literal actual blood from getting sliced and diced by this hilt.

Because those vertical grips are the worst ever idea to put on a handheld weapon. The reason they worked on Anakin’s is because they’re straight and thick and chunky and, most importantly, blunt. The whole feminizing sleek-ifying thing they did with Leia’s - while stunning - renders it useless because the grip is curved and those edges and corners are all hard and sharp. One slip, and it will slice your hand. Not to mention just all over make it uncomfortable to use.

And this is one of those beautifully deep things Star Wars has just stumbled into creating because I don’t think it was ever intended or thought about much more than making a pretty prop.

But it is absolutely poetic that Leia’s lightsaber, representing her journey into the Force, is genuinely something that causes her pain despite bringing her closer to her family. Her entire history with the Force is written into this one tool, which she built with her own hands, and yet wielding this tool is only going to harm her and lead her down a painful and treacherous path that no amount of skill or care can save her from. And for her then to walk away from this because it is too difficult to bear or because her family was telling her that her role is elsewhere in a field that she loves that loves her back is just the most perfectly illustrated piece of Leia’s story.

In short, I absolutely hate this lightsaber, but because of that, I absolutely love the story it tells.

[storgicdealer]

one of my BIGGEST and important rambles on ava that questions a lot of stuff that was accepted as factual a lot of times

dimensions, rocketcorp and virtual reality in ava

initially inspired by these tags from @sticksstonessteel and the thinking about rocketcorp simulations. and a certain hc i saw on ao3 once and remembered

eventually it turned into an existential crisis. im sorry moots

warning: OKAY. so. this is very clumsily made and its an assumption made both of canon info and theories that might feel as a complete reach.

this text touches upon possibility AND obscure ideas that might not have definitive proof in canon. there might be not a direct link of events here. but it is very, VERY long and touches many different subjects at once. takes of this long ramble are bold (i could also mention strangely opposing points in the text because i re-thought many concepts along the process of this ramble and mightve not noticed it)

i was wondering about the way the technical-machine device stuff intermingles with the whole literal mercenaries (and a box used for torture) thing. but these tags made me think not only of that

what we've seen so far is that rocketcorp controls a variety of tech, both pc-like interfaces that only they have access to and more "regular" tech, like tvs on which videos from youtube can be played on. [kings backstory]. we've also seen a variety of different tech in the wanted-the box episodes, but not much of it can be used outside whatever advanced shit theyre doing inside the corporation. one of these things however can be used which is surveillance tech, it feels like an important thing to note given that the importance of the corporation might suggest that rocket is responsible for city surveillance in one way or another as well

yet how exactly does a tech corporation tie in with mercenaries, weaponry (and literal torture)?

• rocketcorp

given, again, the grand variety of tech they possess and advanced technology they use, them using literal devices that real world users/sticks from a pc would use (control panel of the box) and it being restricted to them only made me think of something. the whole story of ava/m is built inside digital realms, outernet and internet. taking that into account, obviously, any kind of technological advances in these worlds are crucial to the way of how sticks in it interact with their already technological reality. which made a tech company like rocketcorp so influental in the first place

due to a piece of rocketcorps existence in the king episode and ava s2 teaser and prior to the release of the box i had a thought that the company specializes and presents itself as a "domestic" tech company. not the kind of company that meddles with grand technology and digital stuff, but the one that is accustoming citizens of the outernet with regular tech such as the mentioned tvs. the work of the mercenaries was always perceived to me as just an underground shady work of a company. but the box and a reminder of the chosens wanted poster made me rethink and question whether rocketcorp specializes on technology that changes and affects the reality they're living in, outernet and dimensions itself

i tried to observe the possibility of it and came around to three big thoughts, the most major one being the last

first thought that can give something to this thought is that mercs tech weapons influence physical properties of their world — ultimately damaging objects and people (like it was with the corndog stand and chosen), rendering the objects out of their usual state and bringing actual pain or messing with the state of a stick.

(its also worthy to mention that in the corndog short, prior to the merc and chosen chase appearing onscreen people in the short were already running away, and it does make me wonder if it happened out of potential fear of these weapons or, maybe, potential fear of the chosen one? bringing me back to my post on thinking how chosen & dark crimes were perceived in the internet and possibly outernet)

the fact that weapons changing literal existence of an object and glitching them are available to mercenaries of rocketcorp is a pretty big thing

another potential argument for it is about the memory scanner itself — a thing used for intrusion into a literal brain (code?) of a person. the obvious thing aside – the scanner literally looks like a vr helmet and i initially thought that it was its function before i saw what it was used for

the whole fact that this kind of advanced technology exists, honestly, surpassing the already existing level of technology in stickcity is something that could potentially connect victim and rocketcorp respectively to an ability to meddle with a literal living being, their memory and potentially their code. victim, aware and knowing the process of being directly created from someone's hand might've acquired the knowledge of influencing a stick's literal process of living over the course of all the years. which brings me to my major point:

• dimensions

we all know about the fact that initial pc programs are able to be used in the outernet, which by itself is an interesting discussion of internet and outernet intertwining once again. we know that rocketcorp and pc sticks use interfaces that real world users use. and we know about the existence of the adobe tool board that agent uses literally all their screentime and the adobeflash instruments in victims office. it wasnt a surprising thing to see given that we have mostly explored the way of how pc and internet programs work throughout the series, and it was thought about that well! nothing surprising about these tools being in the outernet as well, mustve acquired it from somewhere! (and honestly, given all the new insane character plot i didnt think about that deeply either)

over the course of events happening in the outernet we have never really seen pc apps used there physically prior to season 2, except for one time of alan's cursor being used there... that required an insane amount of coding and manifestation of the cursor in the outernet space that couldnt be achieved without a stick that is familiar with with a pc.

not only talking about yellows feats, the creation of darks portals is something worth mentioning as well. we know that he is extremely skilled in coding, with it most likely being his main activity (aside from terrorism) in his life in the outernet. no sticks that we've seen created something like literal dimensional portals, like dark did — and he is a stick that is accustomed to the pc and internet as well. and oh, orange. bringing their stylus to outernet and have it revoked almost immediately when caught (which is not surprising at all anymore, that the mercs and rocket workers took an immediate interest in it given canon information and all these theories lol)

and, unsurprisingly, purple, king and the unknown merchant in "the king" episode as well. we know that the minecraft icon could be accessed through a travel to a pc, and that purple was first introduced literally inside of a mac — and the whole bit of purple coming to alanspc trying to steal the icon that the cg had.

(another thought to mention is about the interdimensional travel — the whole fact that the internet and the pc realm is able to be accessed through programs brought to the outernet. (e.g. minecraft portals). but again, these programs were initially coming from a pc, and didnt exist in the outernet. where the actual hell did the blue merchant in the king episode come from????)

this whole fact shows that the only way to access pc programs in the outernet is for something or someone to bring it there.

and victim, posessing all the tools of the whole program he was created in, wouldnt be able to get it through regular means. whether that means acquiring it from someone's elses hands or going to a pc by themselves.

• virtual reality and the position of rocketcorp in outernet

now, im going to bring up outernet and internet intertwining again. outernet sticks do not interact with pc programs physically, like all avam main characters do.

the only times we've seen pc programs and apps physically interact with outernet were shenanigans with the cg, hollowheads, purple & king. people that actually had access to a pc in one way or another.

(..and the damn merchant.)

the fact that these programs existence is quite rare in outernet and maybe even unknown to some, having rocketcorp being a full-on restricted company with classified information, having high influence over tech, exchange of pc programs being seen as a shady activity(!!!!) (the king episode),

— could rocketcorp be somewhat of a main corporate that controls the fabric of the outernet and internet itself, being some sort of a power force and government-ish corporation to the outernet? perhaps, them being seen as officials that have limited knowledge of unaccessible pc programs and internet itself and exclusive (even divine?) power of it that only they are able to possess, providing it to the outernet, initially making them "the people in power" that stand higher than regular sticks of the outernet?

(essentialy, making victim a literal fucking dimension mastermind)

• important part about outernet sticks (that ill probably ramble about in an another post independently)

supposing that rocketcorp does possess power... would they have control over what they decide to stream and show with their tech?

the tv that we've seen in the king episode didnt show any other episode except for the minecraft one. heck, it could've been the only thing shown there.

and in general, it begs the question: are outernet sticks that never traveled beyond its space even aware of internet?

and could've they interpreted the episode above as just fiction, along with the confirmation that our main characters are the ones that are inherently tied with the pcs and the internet in different ways?

(PLEASE tell me if there's proof that confirms otherwise because its a very bold statement given how much outernet and internet are interlinked in the main story. its 2 am i havent slept sometimes i have amnesia and i might be forgetting something very crucial. this assumption was not fully comprehended by me before specifically because most outernet sticks are the same type with the cg and it was confusing when i was just getting back to avam a few years ago)

we also know about the box itself. or, to be more accurate, the boxes. the ones that both chosen and second were trapped in, at the same time, in different places. the ones that were, quite literally, simulations. the ones that have also used pc programs tools.

simulation isnt something that was seen as an ordinary occurence, but it was literally seen twice in the rocketcorp in the same episode. creation of a simulation doesnt seem like an activity that could be used by ordinary sticks either. giving potential highest influence of rocketcorp over pc and internet technologies and its providence, are they able to give simulation experience to others, allowing regular sticks to experience different dimensions in a controlled way? say, for example, in a game?

whoa finally i got it out of my brain. im going to drop family guy pose style

afterthought rollercoaster:

• as far as i remember we didnt see outernet citizens interact with internet like users do, but we do know they possess tech such as television again, that can be bought. there IS tech such as computers (tdls room) but we havent seen them being used by sticks that werent exposed to the concept of the pc and the internet. there is a possibility i missed out on outernet sticks using phones or other tech, but even with this, its possible that our internet is simply not accesible there

• given the possibility of rocketcorp delegating all technology and simulations, providing it to others, possibly allowing smaller companies to use their resources in different cities... is there a possibility that rocketcorp might've been responsible for the gold simulation incident?

• going back to weapons of the mercs, i do wonder whether, even with the pc apps ability to be used in the outernet, the apps themselves having any kind of influence over processes in the outernet — given the whole glitching thing that literally messes with physical objects and people. it is just my own theory, but i dont believe that the glitch thing that is embedded in these weapons comes from the outernet, either

• okay this is going to be a wild concept you dont have to read it

talking about the creation of outernet and the whole race of stickmen, right now i am tending to believe that outernet is still an extension of internet that might've appeared with its creation. i was always open to accepting it but slightly confused by the concept of outernet being natural (bc i constantly try to find logic in worldbuilding el oh el) and tried to suggest a theory that sticks of outernet might've also been created directly (which does feel like a reach atp). with the concepts i discussed in this ramble i dont really feel that confusion, but im honestly not abandoning the idea of creation at some point, either: specifically i had a thought that when outernet first appeared first sticks of that dimension were also created, potentially them finding a way into outernet in some way. but eventually outernet was built as an independent place for their kind and prospered by itself like any civilization would

oh my god im going to drop with exhaustion. but im so happy i got it out

self portrait of my sticksona right now

[jewishvitya]

Rowling had nothing to do with Legacy and I think most people forget that. She wasn't even consulted. WB bought the license and the devs did whatever they wanted. "Sirona" is a beautiful, feminine Celtic name associated with healing, and "Ryan" is an extremely common Irish surname. I feel like people are looking for reasons to be offended, especially when it comes to trans characters and antisemitism. The goblins are not and have never been Jewish stereotypes. They're a fictional race. They're based on Tolkien's goblins and old English folklore dating back to the 1400's, where they have always been depicted and small, ugly, and greedy. Rowling herself was shocked by the antisemitism rumors and staunchly stated they weren't true. Just like the rumors saying lycanthopy is a metaphor for AIDS. Just... who thinks of this stuff?

What's really sad is people have argued that Sirona was never meant to be trans, but a male character that the devs rendered to look "more feminine" at the last minute. People have made fun of her voice and said it's "too masculine", so obviously WB just hired a man to voice her and changed her gender later. But that's not true! Her VA is actually a trans woman and the backlash against the character must be devastating to the VA.

Okay, so, I don't think you're here in good faith. You're here to be dismissive. But I'll reply anyway, just in case I'm wrong.

One thing at a time.

I'll start with the one point you made that I agree with: the VA. She doesn't deserve to have her voice scrutinized and criticized. That's horrible, no one deserves that. I did see - and share - the misinformation that Sirona Ryan was voiced by a man, and I regret that. I edited it out of my post as soon as I knew, but this is tumblr and unedited versions do go around. I hope more people will see that corrected, and leave the VA's voice alone.

Now for the mess you threw at me.

Hogwarts Legacy is related to Rowling by virtue of existing within the world she created. It's still her goblins, since she gave her permission to create this, and she let it be added to the canon.

Rowling's world is the context.

I don't care that she wasn't consulted about the details, that just means the other creators are bigots too. When you build within a world that has such large issues, where so much time and effort was devoted to highlighting and criticizing those issues, and you create a story that continues all the problems from the original canon and adds to them - that's a choice that I have a right to criticize. They had the benefit of being a google search away from knowing how to be respectful about all of this, and they did the opposite.

Sirona Ryan IS a beautiful real name, that's not the issue. I already wrote this post where I tried to explain the reaction, but I accept that maybe my feelings about this name come from cultural ignorance. If that's the case, I apologize, and I'd love to be corrected.

My real issue with the game is the antisemitism.

You say "folklore dating back to the 1400's" as if that's far too old to be influenced by antisemitism. Fun fact: antisemitism is older than goblins. Antisemitism is literally millennia old. At least as old as Christianity, which is the root of many antisemitic ideas. It's older than many European mythological creatures, and it infuses a lot of European folklore and mythology, down to the depictions of witches with their pointy hats. Stories about goblins being used as a way to dehumanize Jewish people is not new. And using a fictional race of non-humans as stand-ins for real groups of marginalized people - either intentionally or not - is a very common practice in storytelling. Most fantasy races have those roots to them. But even then, where, in the original lore of the goblins, did they control the banks?

It doesn't matter if Rowling was shocked by the claims of antisemitism and it doesn't matter if she denied them. The reality of her story is that she created an antisemitic depiction. I can believe that it wasn't her intention, but that doesn't mean it's not what she did.

You don't get to look at an antagonistic group that embodies EVERY SINGLE TRAIT THAT WAS ASSIGNED TO MY PEOPLE TO DEMONIZE US and tell me that's not antisemitic.

I already made this list, but let's do it again. All antisemitic traits that can be found in Rowling's goblins. I'll break it down to the original book canon, the movies, and the game.

Books - Rowling's actual canon:

Short, with clever swarthy faces, sallow skin and pointed beards

A guttural language

Ruthless and known for their greed

Pursue someone who owes them money with violent threats

Have cultural differences that make them impossible to trust

Harmed by dark wizard but still suspected to support them

Only worth associating with for their metalworking and control of the economy

She placed a goblin's rebellion in 1612 - the same year as the events that led to the Fettmilch uprising, which resulted in pogroms and Jewish deaths. Rowling stated that wars and political unrest parallel between the muggle world and the wizarding world as the two societies influence each other

The most prominent named goblin character, Griphook, betrays Harry. Harry is a Christ allegory - literally sacrifices himself to save everyone, and then comes back to life

Movies:

Hooked noses - the best known antisemitic feature

A six pointed star in the building they chose for the bank - I don't believe this was intentional, but it's an unfortunate choice and they could have covered it

Here end the parts I blame on Rowling directly. And the game was built on these foundations.

Game:

A historical time frame of pogroms, where our people were murdered in large massacres that often had support from authorities

Explicit ties between the goblins and the dark wizards

Aiming to undermine wizard society - the goal assigned to us in every antisemitic conspiracy theory

Kidnapping of children for their magic - literally just look up blood libel

A character says the goblins can't appreciate art. It’s absurd to say considering the quality and coveted status of goblin-made artifacts. In the real world, this is a claim that was made against Jews by the Nazis (and it targets other groups hated by white supremacists as well)

A ram’s horn artifact that strongly resembles a silver plated Shofar - a Jewish ritual item. Said horn is from 1612, from the same rebellion mentioned above. According to the item’s description, it was blown to rally the goblins and to annoy witches and wizards. It was stuffed with gorgonzola to mute it, a specifically non-kosher cheese (most kinds of cheese are kosher). It's so disrespectful I still don't have the words to fully convey it

Whether you want to acknowledge it or not, those traits became associated with Jewish people as a group through hateful propaganda. Putting all of them on a non-human race isn't better. It just adds to the dehumanization of it. It's not just Rowling's fault. That's shared by every single person who had a hand in the creation of this story. For the issues in the game, I blame the people named here more. I see no reason to extend grace to far-right bigots.

But to focus on Rowling. You brought up lycanthropy. You seem to think we made up the idea that it's a metaphor for HIV. We didn't. She said that. In the ebook Short Stories From Hogwarts of Heroism, Hardship, and Dangerous Hobbies - she said that. She said it before that, on Pottermore.

Lupin's condition of lycanthropy (being a werewolf) was a metaphor for those illnesses that carry a stigma, like HIV and AIDS. [...] The wizarding community is as prone to hysteria and prejudice as the Muggle one, and the character of Lupin gave me a chance to examine those attitudes.

This is a quote of her thoughts. It still exists on Lupin's page on her Wizarding World website.

And it's actually a pretty good example of how it's absolutely possible to be awful about depicting a stigmatized minority through a fantasy stand-in.

HIV+ people are stigmatized through no fault of their own. But in her books, it seems reasonable for the wizards to fear werewolves. And she did that, she made prejudice reasonable. We have: Remus Lupin, a named werewolf who is good and kind, and tries to avoid hurting people. Even then, he nearly does cause harm more than once. He turns in front of our heroes and spends a night loose in the forest. He tells the heroes that as a student, he almost bit people while out with his friends. So even while well-intentioned, he's a danger. That means we don't have a single safe HIV+ allegory in her work. The other named werewolf is Fenrir Greyback, who intentionally targets children to turn them young and raise them to hate the society they came from - which is fucking homophobic, whatever she intended, because of the way HIV gets associated with homosexuality. And the rest? A whole community of werewolves who side with the Death Eaters.

Did she mean to make a whole community of marginalized people into wizard Nazis? I DON'T CARE. SHE DID THAT.

I don't care to argue about her intentions while writing the text. I can't read minds. I can read the text she wrote. I can see what was put into the game that was added into her world. I can read about the history of my people and their persecution. I can see how disturbingly similar this game's story is to the propaganda that led to my grandparents suffering through the holocaust and losing their families to it.

If she cared about the antisemitism in her works, she wouldn't just act horrified and say "No, of course I wasn't being hateful to Jews!" - she'd look at whatever she lets people put into her IP, to prevent further harm. I do blame the other writers of the game more than I blame her for that plot, but it's not better that she gave her approval without being consulted. It's her IP, it carries her name, she gets royalties, it's her responsibility.

And at the very least, she doesn't care about antisemitism enough to worry about minimizing harm. I know that, because I know her friends. I know TERFs and Gender Criticals. Rowling saw an anti-trans event with white supremacist speakers, and she chose to criticize the counter-protesters. She went out to eat with Maya Forstater and Helen Joyce, who participated and spoke in events organized by Posie Parker - who explicitly includes far right groups in her events, and shares platforms with white supremacists. Rowling bought merch from Posie Parker. She wrote about Magdalen Berns as a "brave young feminist" - as if she didn't push the antisemitic George Soros conspiracy theory and share Breitbart articles. She praised MATT WALSH. The people she associates with now, read from Mein Kampf in their rallies.

She didn't put the antisemitism in the game, but she's very comfortable with antisemitism. Don't tell me she was horrified by the idea that her goblins could be called antisemitic. She just didn't want the label applied to her. If you willingly associate with Nazis, you're a Nazi. And enough of her friends don't seem to mind that.

I stand by what I said: playing this game, even pirated, is like printing out an antisemitic caricature and hanging it on your wall, saying “well, I didn’t pay the artist, I just like this art.”

[jellazticious]

“You can’t rush art”

I think everybody can recall the quote from Toy Story 2. From the most satisfying part of the movie where we see a montage of Woody getting restored by a toy maker. It’s one of my favourites too, I absolutely loved looking at the different procedures used to fix a single toy. The toymaker’s precision and care were found mesmerizing by everyone. As a multi-hatted artist, one that can draw, sculpt, animate, and write, I can say that it’s spot on that there’s so much to do for a single piece of work. HOOO boy, you should see how me and Beefy are organizing Cursed to Charm, there’s so much.

For the upcoming webcomic, we design characters, give each and every one of them their stand-alone story, design different clothes, create the map, draw renders and posters, polish scripts for the episodes, plan to program the comic’s own website, make the backgrounds eventually, etc. To people who aren’t artists or take art for granted, to them, art is stroking a paper using a pen and BAM instant masterpiece. No no, it’s more than that.

Another thing I’d like to say about the comic is that the progress is very slow yet very fruitful because of the time taken. Me and my co-author came up with the idea at late November, which makes the comic four months old now. However, with all that time passed, we have already finalized the list of nine episodes of season one. We have also written seven out of nine summaries from that season before actually writing the dialogue in detail. We have a rough four seasons worth of story progression in the span of four months. Nyeh, excuse the little ramble about CtC, I’m just giving insight of how much should be done for the production of anything which leads us to the next point.

Art production in general.

Movies, animation, shows, video games, books, comics etc etc

All of these are part of art, some people would deny because it isn’t sophisticated like they’re lead to believe art is supposed to be. Art is literally just creation man, can’t get any simpler than that 😩 if you made something, then you made something woohoo! Congratulations you made art, cooking included. It came free with your fucking humanity.

Anyway, just like the webcomic, every single one of these listed also have a set of different procedures that will piece together the final output.

Let’s take Disney movies as a specific example, I want to talk about something real quick.

So one time, I was watching Tarzan with my parents and we stuck around for the end credits. My mom pointed out the animators are divided into sections and there’s so much names on them. There are different teams of animators for each character and these teams are divided in two for the storyboarders and the clean up artists. When the credits rolled a bit more, it showed that the background artists and colorists also have their own sections too. There’s so much people working on different body parts of a movie. I got the habit of reading end credits of every movie I watch, animated or live action, then I would compare the credits of old and new movies. Boy, let me tell you that the work space on old movies are FILLED compared to newer movies. One thing I noticed about Disney movies although, is that the old movies have more sections compared to new ones. The major difference of old Disney and new Disney are the length of the credits and the time gap of the movies. I’m really not trusting the way new movies have way shorter end credits while the publish time of new movies are getting narrower and narrower. Before the 2000s, movies usually come out twice a year and sometimes there’s a two-year hiatus before the next batch of movies are published. Now there’s at least two or three movies that publish yearly while also releasing a bunch of shows in the middle of it. I really don’t understand business talk with the way it sacrifices quality over quantity. Like I get having money is great and all but what’s the use of hoarding it? Especially when there’s so much news of people about to be in poverty and mass layoffs. Why should companies earn money if they’re not going to redistribute it back to the economy at all? This is a little off topic but I want to point it out that people in the 80s used to buy whole houses by being a janitor but nowadays people could barely afford a one room apartment even with three jobs. The Simpsons is an example of this because it was set in the 90s and the family is constantly reminded of how “poor” they are. They even created an episode that talks about the same job that supported people’s fathers will no longer support you nowadays (Poorhouse Rock ep22 s33). It’s fishy and I’m salty about it especially because I hear so much people complaining about how they’re not being given a chance to work. Anywho! Let’s go back to art.

I’m just spitballing my thoughts here but somehow they’re connecting either way. All I’m trying to say is that for the people who care so much about the quality of art, it’s noticeable that they get downgraded, not just by the look but by the way they’re written.

Example.

Clone High.

Jesus Christ, the new show is a nightmare and an insult to the original Clone High. The difference is clear with this one. The original Clone High was heavy satire of every single high school trope used in shows and movies. Every single character was meant to have one personality and that personality is the butt of the joke. The original did not care about making the characters appealing because the appeal is found in the way they interact, they clash so much and a lot of them are idiots. The writing is funny because the dialogue flows so easily unlike the renewal. The renewed Clone High takes itself too seriously and it tries too hard to be relevant. It’s funny to me that fans can draw the original’s art style more accurately than the animators hired. What’s even more frustrating is that concept art was released from the art head and the concept art looked way better than what they decided on the final designs. Other than the art style that tries to be marketable, the writing is insufferable with the way they try to be “relatable” without understanding why the original jokes were funny to begin with.

Now we’re all familiar with this cheap tactic of using the title of successful franchises to grab clicks and views. It’s every live action Disney film, it happened to Scooby Doo, Marvel shows, FNAF, some Cartoon Network shows, Megamind, and now even Kung Fu Panda. Basically MILKING. It would have been better if the productions TRIED to understand the original’s intentions which they forgot about. They ended up being disappointing at best and soulless at worst. I won’t be explaining much cuz I’ve already reached the minimum word count lmao. I’m just rambling here, I better not see anyone interrogate me in asks or replies. ANYWAY, I’m gonna get to the point real quick.

Back to the quote at the start of the post, people tend to forget that. Art is a skill, not a button people press and it gives you pretty pictures or videos. Art is a job and an effort. While art is subjective and it differs from person to person, one thing for certain is that art that is made ingenuinely will never be better than art that is made because the artist loves art. This is why the Tom & Jerry reboots with the lineless art style even if they had a storyboard artist who understood the cartoon wackiness (which were discarded for a “cleaner” and faster style). This is why it’s so frustrating to see concept art of movies which have more appeal than the final 3d models. This is why FNAF Security Breach was nearly unplayable.

Because they all rushed art.

They rushed in favour of what is marketable, no matter how unappealing it is. Everything could have been better, some final products are good, but all of them could have been better. As good as what were released pre 2010s when production had a passion. You can’t spell heart without art.

I’m just really passionate about art in any form since it’s everything that created me too. I will not be here at this point in time if it weren’t for me learning that there’s so much beauty in the world if you could just squint and appreciate why that’s so. I’m defined by my works and it only hurts and infuriates me that people who have the ability and accessibility to create better art than I do waste it for their personal gain or selfish intentions. Everyone could be a better person because of art just as it did to me. Again, it came to us the moment we’re born, art isn’t just a pretty picture, it’s everything we create out of love, passion, time, and effort.

But really, to the wise words of Chef Saltbaker, “like any good bake, heart and soul is the secret ingredient”

You can’t rush art.

[bl00dlight]

THOUGHTS ON S2 ALICENT AND HOW EVERYONE IS WRONG ABOUT HER.

Now that I've had some time to process and review. Here are my final thoughts/ hot takes. Some of these will probs conflict with my initial reactions to thing.

It wasn't a mischaracterisation of Alicent to abandon Aegon and Aemond, considering she never liked them to begin with. Which is literally the reason behind Aegon and Aemond being dysfunctional; her love was given conditionally. She only ever defended them against Rhaenyra, meaning she didn't bother to actually form loving relationships with her sons outside of projecting Otto's ambitions onto them.

She was ALWAYS a hypocrite. Her fucking Cole, even though yes it was annoying as fuck - is pretty in line with her characterisation. She literally let Larys wank to her feet in exchange for his loyalty/ her having more subliminal power. Remember how...she ostensibly gave Larys the green light to like murder Ser Harwin... and then attempt to murder Mysaria... yea...

Her idea of virtue was literally only ever used to maintain the idea of superiority over Rhaenyra/a justification to usurp the throne. It was never a real value of hers. It makes sense she'd abandon it when she is rendered powerless. Because it makes no difference either way to her.

Alicent may be a victim of the Patriarchy, but equally she is 100000% an abuser and an enforcer of Patriarchy. I won't elaborate. It's clear.

It also isn't out of character for her to not give a fuck about Jaehaerys either. Considering she massively projects her own trauma onto Helaena, and in general projects herself onto Helaena. She hasn't spent much time at all with the kid... like ever. And hardly even spends time with Helaena? She also like... willingly ignores Daeron.

It makes sense that Alicent probably feels little connection to Jaehaerys by virtue of the fact she seems to struggle with connecting to her sons. And Jaehaerys is an extension of Aegon and also of the crown.

Alicent has to an extent been traumatised by Targaryen men. All of which lean in to their "Targaryenness".

Helaena who, doesn't ride Dreamfyre (which annoys the fuck outta me that they made this choice). Seems to have little interest in her own House, thus is the most removed from being a Targaryen and to Alicent, is more aligned with herself.

So all in all, it makes sense why Alicent would basically be like "fuck them all but Helaena."

I think Alicent is deeply traumatised by the male dominated world. And in order to survive she had to adopt the qualities she knows men expect of women in order to maintain a level of power/control she had. Her entire life has been gaining power through the proximity of men and being used by them. She used virtue as a way to protect herself and maintain a level of power. That's why she opposes Rhaenyra, because Alicent has convinced herself that this is the reason she has cultivated her position. Because she is righteous. And Rhaenyra (whom is not righteous or virtuous) does not deserve to rule because of it.

However, once Aegon is on the throne, she realised that it was never her virtue which gave her power but her PROXIMITY TO POWERFUL MEN, WHICH DID - this entire farce collapses. She realises that the mask she wore means nothing. The entire identity she built herself around means nothing. She was never a good mother and she knows it. That's why she can turn around and abandon Aegon and Aemond. She made monsters who she can't control and she doesn't even want to. She'd rather abandon the Targaryens altogether and dissociate herself then face the fact SHE FUCKED UP. And... she legit did that throughout season 1 to... so....

Remember how Helaena said she didn't want Jaehaerys to be King? It's because even Helaena is aware of the dangers being on the throne causes. She knows her son would constantly be under threat and also living a life of despair. She just wants him to be happy because she loves him.

Alicent? On the other hand, literally hears Aegon SAY he doesn't want the crown. Literally hears how miserable he is once he has it. And basically doesn't give a fuck because her ambitions come before his wellbeing. She literally has never been a loving mother. She may have loved Aemond and Aegon deep down. But she wasn't loving. People for some reason think the two are mutually exclusive and they aren't. Abusive people can love you. But they can only love to the capacity they know how.

To Alicent, abandoning her sons is probably the most loving thing she can do. That way they can be free of her, and she can be free of them.

Think about it this way, if your sons were like... genuinely lowkey diabolical, would you stand by them without question?

If the first was a known rapist, enjoyed watching kids being beaten, treated his wife like shit, neglected his kids, spent most of his time drunk and having sex with prostitutes, tormented his younger brother etc; how positive would you feel about him?

If the second was a known maniacal edgelord who killed his own nephew, then tried to kill his brother, then also killed his cousin and then..... also lowkey committed genocide, etc; how positive would you feel about him?

Oh and they were both kinda misogynists?

In the real world, the mothers of fucked up men won't stand by their sons. Some do, but society has agreed those mothers are fucked up for being enablers.

Why do we expect Alicent to love her sons unconditionally, when she literally never did?

The problem isn't her arc, the problem is that the writers didn't actually explore the Green properly this season in order to allow us to understand Alicent. We saw so little of the Greens interacting with each other and so little of their dynamics that... in contrast to S1 Alicent, yea it does feel like they fucked up her character. But they didn't. They just sped run through her arc.

People comparing Ceresi to Alicent are greatly missing the point of Ceresi too. Whom was a raging narcissist - though yes she loved her children. She loved them because they were an extension of her and Jamie entirely. And her love for them meant she enabled Joffrey to become a fucking psychopath. Which again, is what the Patriarchy expects of women. It expects them to stand by men regardless of what they do. It expects them to be good and loyal. But Alicent is neither of those things and she never really was. Alicent is ALLOWED to be a bad mother. And she is ALLOWED to subvert our expectations of what a good mother should be. It's not anti feminist to let Alicent

I don't think it's a bad choice to have Alicent slowly start to develop reservations about the war. The only person who shouldn't of had those reservations is Rhaenyra.

The problem truly was, everything was so rushed, we didn't get the time to spend to see Alicent's arc develop properly. But all in all, like... I think people just be mad because, they are projecting their own ideals of womanhood and motherhood onto her. She is a victim, but she is also the abuser. And that's pretty much standard with the Greens. Both Aegon and Aemonds are both both victims and abusers too. That's legit what makes the Greens SOOOOO interesting.

[room-surprise]

do you know or have thoughts on why the dm characters sometimes reference ‘hell’ (as in ‘what the hell?’) given how the series handles religion? is that an anime thing or translation thing or…???

This is such a great question, and fun to answer, so thank you for writing to me!!! I think there's two things happening at the same time: What does hell really mean in English, and what are the characters actually saying in the original Japanese?

If the characters say hell in the original manga or in any translations, I think it is pretty safe to assume that they aren't referring to the Christian hell specifically, since it doesn't appear to exist in the Dungeon Meshi world. They are instead referring to the generic concept of a hell.

NON-CHRISTIAN HELLS

Hell is a word that can refer to a "bad afterlife" in many different world cultures. Obviously all of these cultures have their own names for these places, but when they are translated into English they are frequently referred to as "Buddhist hell", "Hindu hell", "Nordic hell", etc.

The word "hell" was adopted by Christians to describe something in their religion, but does not originate with them.

The modern English word hell is derived from Old English hel, to refer to a nether world of the dead. The word has cognates in all branches of the Germanic languages, and they all ultimately derive from the reconstructed Proto-Germanic feminine noun xaljō or haljō ('concealed place, the underworld'), and can be traced back even further to Proto-Indo European.

When the Germanic peoples were converted to Christianity, the word "hell" was adopted to refer to the Christian underworld. Before that time, hell was called many different things by the Christians, including "Sheol" (grave, death, pit, underworld), "Gehenna" (valley of wailing), "Hades" or "Tartarus." (The first two are Hebrew words, and the latter two are Ancient Greek. All of these words are attempting to describe similar things, a bad afterlife.) These Germanic cultures (most of Northern, Western and Central Europe) are the primary cultural influence of Dungeon Meshi's Eastern and Northern Continents, where the story takes place, and where most of the characters are from. So the word hel/hell would be native to the region, and logical for the characters to use both as a swear word, and also as a reference to whatever afterlife they might believe in.

WHAT ARE THE CHARACTERS ACTUALLY SAYING THOUGH?

Dungeon Meshi is, for better or for worse, written in standard, contemporary Japanese, without any particular emphasis or attempt to sound "old fashioned" or like it is "fantasy", so any changes or additions made in translation to make the dialog or narration sound that way are just that: additions and changes. The changes made during translation aren't inherently bad, but the original text is very neutral, and open to interpretation. For example, Yaad calls Laios "tono/dono" in Japanese, which is an honorific that has no direct English equivalent, but is used between two people of similar social status, when one wants to be extra polite to the other. It does not imply nobility, but respect higher than "mister" and lower than "lord." Most English translations have rendered this as "Sir Laios" which isn't literally what Yaad says, but conveys the idea with something that "feels right" for the setting. It may be that in Dungeon Meshi the characters are literally saying the English word "hell/heru" in Japanese (ヘル), the word jigoku (地獄), which is the Japanese word for Buddhist hell, another word for a specific different underworld or afterlife, they are saying a Japanese swear word, or just using casual/impolite language that doesn't have a direct translation into English, and so needs to be localized into something that will make sense in English.

The last one is most likely what is happening, and I can think of a couple of common phrases that would most likely be translated into "What the hell?":

The polite, neutral way to say "What's that?" or "What [should I] do?" is "Nan-darou? (なんだろう?) or "Nani?" (何), which just means "What?"

The more casual, aggressive, masculine way of saying it is "Nani-kore?" (なにこれ？) which doesn't mention hell in any way, but translates to something like "What the hell?" or "What the fuck?" It's more rude because it's casual speech, but doesn't literally use words for hell or fuck in it. It technically means the same thing as "Nan-darou?" or "Nani?" But translating it the same way would be ignoring the context and tone of the words.

Another thing that's often said in Japanese is "Uso!" (うそ！) Which literally means "lie" or "not true", but in conversation it’s often used to say things like "you're lying!", "For real?!", "really?", or "No way!"

Often these exclamations of "Uso!" don't have anything to do with lying or untruths, they are meant to express surprise (this can't be happening!) or a response to someone talking about an outrageous and terrible event they experienced, like saying "No way! I can't believe that happened to you!" It's also sometimes translated as "What the hell…" or "Unbelievable…"

If the translators tried to keep this sort of thing literal, the manga would be full of lines like:

CHILCHUCK, running for his life from a mimic: What's this?! (Nani-kore?!) (He isn't literally asking what the mimic is, he is expressing surprise, so he should shout some curse words in English like hell, fuck, shit, etc.)

MARCILLE, horrified by the chimera: Lie! (Uso!) (She isn't just saying the word "lie" with no context, she is expressing shock, horror and disbelief at what she sees, so she should say something like "No, that can't be..." or "Impossible...")

I am not an expert in Japanese, but I hope that all of this is helpful to you, anon, and anyone else that's interested in this sort of thing!

[amaltheas-garden]

Is it a hot take to say I liked most of the costumes in Rings of Power? I haven't read much Tolkein so I have no idea what his aesthetic vision for middle earth was but from a PURELY design standpoint I didn't think it was that bad?? If anything, the handful of truly awful costumes got hyper focused on + certain styling choices really brought down some otherwise beautiful designs. IMO the cinematography and set design had wayyy more to do with the costumes looking ugly on screen than the designs themselves. A lot of the sets just looked very fake, so when you already are aware the characters are walking around in an indoor plastic forest with cgi leaves and sunlight added in post, the costumes probably won't look too good either (a lot of commentators speculated polyester was used but I believe the designer came out and said they used real silk for almost everything). Also, high rez cameras that capture EVERY LITTLE DETAIL are a double-edged sword. In a scene of the Numenorians on the boat I could literally see the sunlight reflecting off a guy's armhair the resolution is insane!!! So why would that be a problem for things looking realistic? The best way I can explain is with an art analogy. For most of the history of painting, artists relied on observation, so any detail they captured in their paintings would have been something the unaided human eye could see, and for details they knew were there but couldn't quite make out (think, the leaves on a far-off tree in the background), they would only imply the detail. However, with the invention of increasingly good cameras, a movement known as hyper realism started cropping up, in which artists work from photographic reference, capturing every detail that really only a camera could pick up, giving their work a very unique (and at times unsettling or artificial) quality. Classical art academies in the present day actually forbid students to work from photographs because they believe it trains your eyes to see in a different way compared to observation, and will outright reject any portfolio submissions with work they suspect as being done from photos (which they can usually tell pretty easily, again highlighting the difference in how cameras and our eyes pick up detail). Returning to RoP, I would argue a similar dissonance is at play, as the show has an over-produced, glossy feel to it, which renders the costumes feeling a bit weightless, without texture or grit despite every detail of them being visible. I am not an expert in film making, so I can't speak on what techniques work better when capturing fabric, but I would point to examples like Dune (2021 & 2024), all of GoT and HotD season 2 (though the grey lighting does them no favors), Mirror Mirror (2012), Wolf Hall, and even Shadow and Bone (a show with a much smaller budget) for films and series that had to translate very over the top and fantasy like designs to screen while maintaining a grounded feeling.

In short, I definitely have problems with a number of costumes (which I'll probably discuss in another post), but I think there were other issues that contributed to the costumes tacky and artificial look than the designs themselves.

[itsmaferart]

Twiyor parallelism • Romantic approach

One great thing about Spy x Family is the way Endo tries to frame his own idea of what "a romance" is. I'm not sure if this is a deliberate decision, as he prefers to focus on denser and more influential themes, such as war, consequences and the search for peace in each character…. Or if simply, Endo is not so comfortable and sees the typical romantic moments as a forced construction of a relationship between two characters….

And it's in the way it draws a linea between idealized fantasy and the genuine feelings (of love) of a family. This is not only a difference you can notice within the SxF universe, but also as a viewer.

If we analyze Nightfall and Becky's perspective a bit we can clearly see that their idea of love/romance for Twilight/Loid are actually projections of their own desires on a person who fits perfectly

According to Nightfall logic, she will prove that she is perfect, to the extent of being the only woman worthy to be at Twilight's side. She has been his student and comrade on missions, so she has been by his side, has examined multiple roles, memorizing his exemplary 'fake smile'. Nightfall loves Twilight, the perfect spy, the man of a thousand faces, a professional in the art of espionage who foresees a thousand scenarios in his head long before they happen.

Then, Twilight would suddenly discover how perfect she is, having an epiphany of feelings that make him fall madly in love with her (?)

Which makes Nightfall unaware that the man she's in love with (or at least, his spy side) is totally removed from that illusion.

That is a FANTASY

The initial Twilight (her teacher) is a cold, distant man who is not interested in having a relationship because he has discarded that kind of personal happiness, much less would he do so with a WISE colleague.

Twilight is someone with many emotional conflicts, due to the barriers he has created for himself because of his own past. Nightfall wants to awaken those buried feelings while pushing the distant Twilight fr to love, and who has always told him to isolate himself from his own personal desires and feelings.

So… Nightfall's love for her master may be genuine and born out of her genuine admiration for Twilight's motivation to create a better world. But it is unsustainable when it comes to building that love into a marriage, because the Twilight that Nightfall dreams of doesn't really exist, rendering her efforts to impress him futile.

After all, this is not what Twilight is really looking for (at least, his true self).

In itself, Nightfall loves the perfection of Twilight, the perfection of the spy. Because that's what she longs for the most, a love story where she is perfect in someone's eyes perfect.

.

And well…. Is it necessary to talk about Becky? I think it's much more obvious how everything Becky dreams of is a much more exaggerated fantasy, a love story where she fights with her rival to get the heart of her prince charming (for starters, Twilight could literally be her dad xD).

It is here that Endo's joke about romance becomes more blatant and obvious. The perfect romance is a childish fantasy straight out of a soap opera.

We know that Becky does not love Loid. She loves the fantasy she has created around him. For her, romance is synonymous with maturity, and Becky projects herself as a more mature child than the rest of her age group. At the same time, she wishes for a love story full of drama and happiness.

.

In contrast, the relationship Loid (Twilight) and Yor build is perhaps the most mundane. (in a good way).

Yes, they are an assassin and a spy, who got married each other to the sound of a grenade. But at the end of the day, it's the two of them sitting comfortably in a living room, on an armchair, drinking a cup of hot tea/coffee.

Endo shows us that many times, that real and genuine love is made of those small moments of intimacy, where nothing big is happening. Just two people talking from the sincerity of their feelings, two people supporting each other, remembering that "you don't always have to be perfect", "being yourself is what matters".

.

It's wrong for romance to be fantasy?

No, of course not!!

It is natural that the first desire you have with a partner is to have an approximation, especially if it is physical. Like the idea of him holding your hands while he professes his desires of you (As Fiona and Becky would say, "make a move.")

The problem with idealized romance, is that it creates a sweep that prevents us from genuinely getting closer to the real person we love. There is so much focus on personal wants and desires that we are blind to the true needs of the other person.

Nightfall's biggest drawback is that she is so focused on what she wants and what she thinks Twilight needs that she is not able to see the emotional needs that her master has (although, being fair… He doesn't know either, right?). The funny thing about Becky and Nightfall's love is the huge contrast to Loid (Twilight) and Yor's real relationship. Both are constantly looking for perfection in Loid /Twilight's actions, forgotten that there is only a tired man with stomach aches from his ulcers.

The difference for Yor, is that she is not expecting greatness in Loid, or if she really dreams that he is an idea man she is looking for. He is perfect, just the way he is. Twilight and Yor may not be very intimate for many, because of the lack of physical closeness between them, and because every time something seems to happen, someone gets hurt (sometimes Yuri, sometimes Twilight)…. or because we don't see them caught up in these fantasies for each other.

But …. is it really like that?

The amazing thing about the fake marriage between Loid (Twilight) and Yor is that the kind of intimacy they have is perhaps the most difficult to achieve but the most valuable in the long run. And that is being at peace with each other, talking about those things you would never talk about with anyone else, enjoying each other's company only, speaking from the sincerity of your feelings and affirming a thousand times that you would never change anything about each other and would choose them as your partner again and again (for life).

This is the true romance within a marriage.

.

So… we haven't seen progress in their relationship?

Sure we have, lots of times. But these are much more subtle and simple than we expect. We know that they both cook dinner together (as a couple), and have selected the stores to buy what they need for the house (as a couple), they buy the ingredients for dinner or cleaning products the other asks for (as a couple), Yor takes her husband's clothes to the dry cleaners, Loid makes delicious food for his wife,They say goodbye at the door (as a couple).... both look at each other as if they were the most wonderful people they have ever met in their lives.

(If these two have not kissed it is because they are basically two idiots).

Every time a romance is forced between them, something bad always happens, simply because it is not the right way it should happen. Unlike when the two approach each other being authentic.

I don't think that in the future, these two will have problems with physical intimacy. We're talking about a man who took a second to REALLY ask his fake wife to marry him (I'm sure if Yor didn't kick him to the curb he would have asked her for a wild honeymoon that very night)...Or that Yor in a fit of confidence pushed her fake husband, cornered him, and climbed on top of him.

I'm serious, these two are craving for physical love, what they want to admit!!

In the end, the engine of a true couple is not in the touch of their hands but in the touch of their hearts.

[iztea]

Do you like drawing in a sense that it relaxes you? Like a hobby you‘re looking forward to after a day of work. Do you feel joy while you draw?

I‘m currently battling my art demons and came to the conclusion that drawing actually makes me feel shitty a lot of the time because I only take joy out of the results yk? So if it‘s good, great! If I get overwhelmed woah my world is breaking down. My therapist told me I need a hobby that actually relaxes me and that I like solely for itself, not connected to performance, and I was wondering if drawing is just generally the wrong thing for that or if there‘s a way for people to actually enjoy it in a relaxing way.

You‘re so open about your drawing process and you‘re my favorite art account so you fell victim to my question haha but I get that this ask is pretty specific and kinda weird, don‘t feel pressured to answer :)

i do very much enjoy drawing in a relaxing way; for me, it's the equivalent of playing video games or watching Netflix so, in a way, i think of drawing as "unproductive work". Not sure if you're actually looking for a solution-based answer to your problem or if you just want to hear my side/my opinion on the matter, but I'll try to delve into both. 

I think for me personally, I've always found drawing to be relaxing for the most part. Frustration is always to be expected, of course, but I wouldn't say it ruins the mood, it's just something that comes and goes. The only unpleasant part about drawing for me is strictly related to the social media aspect or just making it public. Now, I'm not sure if you have an art account as well or how much you relate to this but I very often dread posting stuff online. I kinda have to force myself almost every time to make something public because I hate the applause but I am also rational enough to understand that art is meant to be shared with others, even if I personally don't feel a strong need to... It's just one of those human behaviour things you have to mimic or adapt to get by, similar to many other things that don't make sense to me personally but I cognitively understand why they happen but I digress

 When it comes to the process itself, I actually enjoy it more than the final result. If I had a lot of fun experimenting with brushes and new techniques and crazy effects i saw online then i get a sense of joy no matter the end result, and here is where my first piece of advice comes into play: learn to enjoy the process without thinking of the destination. For me, even when I do have a clear idea in mind, it always fluctuates and I let it fluctuate. Sometimes it even looks like shit. So what? It's just for your eyes, who cares if it doesn't look good? Just call it a flop and move to another thing, or revisit it sometime later when your skills improve. This is even easier when you do not have an art account where you share your art, there's zero pressure, you're creating the pressure yourself.

Just think about it: 

>why do you feel shitty and overwhelmed? -> because you care about the end result

>why do you care? -> because if it turns out bad, it feels like wasted time. or because you put your worth into what you create or because [  fill in your answer here ]

>do you still want to continue drawing? -> if there is a way to enjoy it in a relaxing way, then yes i assume

Ok great! Then, the solution is to remove that root feeling of disappointment, overwhelm or despair by learning to appreciate the process of creation and bask in the uncertainty of it instead of being so dead-set on the final piece. If you are not content enough with your skills to end up drawing something that you're always satisfied with, and if it causes you this much distress, then drop your expectations and don't reach the finish line. I mean this literally: draw forever-WIPs. Sketches. Doodles. Don't render, don't even try to think of a color palette. Don't Finish Your Art. Enjoy the process of discovery, of trial-and-error of indecision and I can assure you it will be during these moments when you'll find the relaxation you're looking for.

Enjoyment and relaxation, in my experience, come from two places/approaches: 1. the subject itself and/or 2. noticing improvement in your skills.

To give you an example, when I was sick with fever I drew Dazai as that "let's take ibuprofen together" meme and I thought it was the best shit in the world I was on cloud nine and giggling to myself. Looking back on that art, I now realize it looks terrible (and i lowkey want to redraw it) but back then i was laughing while drawing it and felt Great. because I was drawing something i thought it was funny. Not even once did I think "oh man, I hope this turns out nice ohh it will be so awful if it doesn't the world will explode" because that was not its purpose. Granted i was a bit,,,,,, unwell given my sickly state but my point still stands! So, what I'm trying to say here is that you can try drawing "funny/silly" things as a way to sort of lessen that burden of expectations. Or just something you reaaalllly want to see and you know no one else will do it. Taking matters in your own hands type beat

The second way to enjoy drawing in a relaxing way is by taking the other route: instead of focusing on the subject matter, try focusing on new techniques, new brushes, new tutorials or approaches you found online. Basically, focus on improving your skills in a fun-no-pressure-no-strings-attached way while keeping your subject of choice neutral or uninteresting. Or maybe take the artwork of an artist you really like and try to deconstruct it/ reverse engineer it and apply it to your own art. But whatever you do or choose, just never finish it. let them stay as wips or else you won't be very.. relaxed.

*please note this is an "and/or" statement, so you can absolutely do both: try a new technique you found while drawing something that you also enjoy for uhhhhhhhhhhh relaxmaxxing as the would kids say

Lastly, what I would highly recommend is listening to Adam Duff's podcasts, he really hits the nail on the head when it comes to such topics and more, he really narrates and explores that soulful part of an artist way better than I ever could with this answer so please check him out, I think you'll find your answers there

[cinnamonest]

I just realized that I forgot to send what I wrote to the translator, so I'm writing again .I really like the ideas of a dear with such poor eyesightthat she can hardly see beyond a couple of centimeters . This is very convenient for Yandere, because if she behaves badly, they just need to take off their glasses. + makes an escape attempt very difficult Sorry to write this again 😭

You're fine! I actually know like a very small amount of Russian so I was like trying to challenge myself to read without using Google and managed to recognize a few words which was fun 🤭

And that's literally me, I remember the first time I went to the eye doctor as a teen and tested my sight he was literally so baffled he outright asked me "how have you gotten by this long like this" 💀💀

---

Obviously the worst would be either Kaeya or Childe because they find your impairment very cute and will make your life all the worse for it. Taking your glasses away is not even so much as a means of control for Childe, he just genuinely finds it funny and endearing to watch you struggle. It's just one of many things he does to mess with you, along with putting things you need way out of your reach and hiding your stuff and making you do favors or say sweet (and embarrassing) things to him to get it back. Because it's less a control thing and more pure amusement, though, he's more likely to occasionally relent and give it back to you when you need it.

For Kaeya its both control and amusement, so the same is not true — in fact, he most likely outright throws them away for good. Anything you really need that your natural vision prevents, he can just do for you, and now you'll be forced to ask nicely. But he absolutely will do little things to mess with you.

Diluc just decides you've seen enough for one lifetime. Off they go. You wake up one day and they're not where you set them down and he just shrugs off any accusations from you, but doesn't deny them. It's actually a part of his borderline obsessive fixation with moulding you the perfect wife-y version of you he's constructed in his head. That version of you has no need for them. What do you need good vision for? Seeing things?? Looking at other people?? Navigating the world outside? None of these are approved activities. You don't really need great vision for cooking and cleaning and laying on your back with open legs and other more suitable things. You'll adjust just fine.

If you're farsighted and really want to read a book (which, as long as it's approved reading material, is fine, ideal even as it's a sedentary activity), you may ask very nicely and you may temporarily have them back. You can, however, "negotiate" with him by making it backfire on him, such as "accidentally" getting juice confused with rat poison you give to him. Do this sort of thing enough times and he may relent to let you have them a little bit more often... but still only with permission.

Albedo is actually similar to Childe and Kaeya in that he finds it amusing. He's just not as outwardly teasing about it, rather, he tends to quietly observe with a faint smirk watching you struggle. Him taking them away shouldn't really come as a surprise though, seeing as he's the worst candidate for limiting your capabilities in general. Like, having your glasses taken away actually kind of pales in comparison to being rendered permanently lame or having your entire body temporarily paralyzed when you're being mean to him. He already takes every conceivable opportunity to render you as helpless and dependent as possible, this is just another aspect of that, and the primary reason for doing so. Doesn't mean he doesn't also find it cute, though. He's just not going to outwardly say anything to belittle you about it... unless you're being bad, in which case, a few dry-humored jabs might be warranted.

But most surprisingly, Baizhu of all people has the audacity to use it to his advantage. Total betrayal from someone you would have thought understood Universal Glasses-Haver Solidarity. But perhaps that is why he does it, he knows just how inconvenient and limiting it can be, thereby viewing it as a fairly strong leverage in his favor. Besides, you did earn it when you tried to poison him. Have fun reading labels on the medicinal jars on high shelves now.

Should you ever bring up the inherent hypocrisy of keeping you deprived, he merely says it was a necessary act for your own well-being and his alike. He has a tendency to bounce back and forth between how strict he is — he has a soft spot for you and wants to be lenient and trusting, but his self-awareness of his own physical condition and potential weaknesses make him paranoid enough that once he's decided on something like that, he likely won't go back on the decision.

[kakudo45]

do you have any tips on how you color? your coloring style is similar to what i’m trying to achieve but i have no idea how you actually pull it off

Hi!

I'm gonna separate this question into rendering vs. coloring. I'm not sure which you mean so hopefully tackling both covers your question, although I'm not really the best at explaining things.

For rendering, I usually paint using some square/textured brush (kind of like the one pictured below and a low opacity circle brush (the standard in photoshop, and most painting software). Lately I like using brushsets from the digitalbrushes account here on tumblr.

I sketch, and then paint underneath the sketch. after i paint for long enough I either delete the sketch layer or I merge the two. I like to add texture where the midtones are. I think a lot of my "rendering style" is probably owed to that.

I like adding texture around midtones. I also like adding limited random variation of color and value to large areas. Like below, you can see that I added a slightly different shade of red to the lit part of the apple in step 3. If you add variation or slight gradation to the large light shapes or shadow shapes you can create the impression of depth. At the very least it looks more fun.

Also a disclaimer, but for the last two drawings I did I've kind of went off kilter. The process is the same but I used some oil paint brushes I downloaded and I pretty much added as much variation to every shape possible, which I would not recommend unless you're sure of what you're doing. But you can see here that even though I added variation (in color, brush stroke, etc) that the shapes are pretty readable and the light is very clearly separated from the shadow.

In terms of choosing color, I had a long stretch of time where nothing would look right to me. Things were colored really literally, with no regard for lighting or ambient color (background/environment surrounding characters). I would often fix things up using a gradient map and using color burn or multiply on 14%. Honestly, this is still a great way to make things look coherent, I really like these gradient maps on the CSP asset store if you want to look into them.

My colors improved a lot after I developed an eye for color/figured out what colors I like to put next to each other. I did this by saving and making a folder of any piece I saw that I liked specifically for color. By doing this I got a clearer sense of what kind of color schemes I tend to like. I suggest doing this as well so that you can figure out what kinds of color schemes and pairings you tend to enjoy most.

Hopefully this answers your question <: ] Apologies if this doesn't make sense, it's a bit of a long post.

[metanarrates]

hi as someone who's been browsing your utena and ORV meta, please I'd love to hear your thoughts on villainess isekai

my off the cuff answer is that most people are not revolutionary leftists OR revolutionary feminists and therefore don't even think about those ideas, since current oppressive systems are the air they breathe. their concept of wish fulfillment only occurs within those systems, or ones that have a strong resemblance to existing systems (ie feudal european fantasy world where the protag is/becomes landed gentry.) sure, the character is still in the system, but she's at the top of the class system, and she has Special Qualities that render her somehow immune to patriarchal violence. that sort of thing is the only escapism a lot of people can imagine, since existing outside the system is, well, a revolutionary idea!

FURTHER ANALYSIS UNDER THE CUT:

under patriarchy, there exist only a few models of womanhood that are okay for women to relate to and aspire towards. obviously, this is a complex sociological concept and those models are not uniform for every society, or even every person's perception of that society, but those models do have a tendency to shape what women fantasize about. and literally every one of those models has the common feature of being subservient to men in some way. this is, again, because of patriarchy lol.

patriarchy also has this effect of presenting heterosexual love, romance, and reproduction as the ultimate way for a woman to find fulfillment. there are other acceptable avenues of fulfillment, but all of them are supposedly inferior to the fulfillment of having a man who loves you and wishes to protect you. this essentially has the effect of making it so most, if not all, of popular fantasies targeted to women end up also treating heterosexual romance as the ultimate path to fulfillment!

you've identified that power fantasies written for men tend to be about gaining, yknow, power. they get skills and Do Cool Things and also often gain hot chicks as a secondary aspect of wish fulfillment. power fantasies for women are often an inversion of this: the primary wish fulfillment is that of a hot guy who loves them, with any extra powers or skills or Stuff the main character gets acting as a secondary component to that fantasy. this reflects real life gender expectations, where men are meant to be career holders first and husbands second, and vice versa for women. and a Lot of this ties into what I was talking about earlier with both acceptable modeling and patriarchial romance standards.

you see, i have a theory in relation to escapist main characters. in a lot of other genres, it's somewhat acceptable that the main character of a story is not someone you have to 100% identify with. they can do socially unacceptable things and the story can still be very enjoyable to a vast audience. but when it comes to a character who functions more or less as an audience self-insert, the standards change entirely. an audience isn't usually quite as comfortable placing themself fully in the shoes of someone who defies social acceptability too much, just because those are actions that make them feel uncomfortable in real life. they don't like having fantasies that feel wrong by the standards of societal structures.* and so, a LOT of the time, the main character must fit acceptable models of womanhood in order for the fantasy to sell.

(*generally speaking. see above on societal stuff not being uniform. i have a lot to say about how an Actually Evil villainess functions as a fantasy but for now I'm just gonna talk about patriarchy in shoujo fantasies lol)

and what are these acceptable models of womanhood? like i said, they're highly tied to the female character being desired and protected by men. this familiarity is comforting to readers. it's unchallenging. it's even desirable.

and this is what I keep identifying in escapist fiction: the need for comfort/familiarity above all else, even if that comfort is found in opppressive power structures. a key component of the fantasy is the power structure seemingly without the oppression that makes those real-life systems unbearable. sure, the protag is essentially the property of the man who loves her, but maybe he lets her do what she wants, or he won't hurt her in ways she doesn't like in the course of possessing her. it makes gendered structures that are implicitly violent in real life explicitly nonviolent (or not violent to a point where it cannot be tolerated by the protagonist) inside the fantasy. it is, in essence, softening patriarchy to a point where it can be viewed as safe. and to a reader of these fantasies, that feels safer than dealing with the uncertain territory of someone who tries to escape those structures!